I first encountered French saxophonist Émile Parisien on an album titled XXXX (ACT), released last year. (I’m a little late to the party—OK, very late, since Parisien has recordings going back as far as 2014 at least.) XXXX is an impressive live recording—five stars in Downbeat—from the quartet of Michael Wollney, Parisien, Tim Lefebre, and Christian Lillinger, but the high level of anxiety it induced in me might keep it out of my CD player for a while. I did, however, take note of Parisien, whose musicality and humanity stood out across every track, whatever the mood or tempo. A name to remember, I thought, and then his latest recording, Louise, appeared in my post box. It confirmed my first impression—in spades.

Émile Parisien
Louise (ACT)
A review

Émile Parisien is the most complete and exciting soprano sax player to come to my ears in a long while. His well-structured compositions—five of Louise’s nine tracks are his originals—and expressive arrangements combine an architect’s precision and a poet’s imagination. His compositional acumen extends to his improvisational flights, as well, which are beautifully and daringly navigated—high-wire acts that Phillippe Petit would have to admire. Then, there’s the absolute command of his instrument, enabling the most fluid and nuanced expression, which is only heightened by his full, warm round tone, and let’s not overlook his exceptional rhythmic sense. In short, he has a voice.

Parisien is joined by a hybrid collection of five outstanding American and European players who share Parisien’s lyrical expressiveness and whose different musical backgrounds merge seamlessly on Louise. The sextet feels like it has been playing together for years.

Parisien met Theo Croker (trumpet), the grandson of trumpeter Doc Cheatham, while on tour in 2018, and the two made a particularly strong connection. Croker’s sensitivity and range of feeling match perfectly with Parisien’s, as you can hear clearly on Croker’s “Prayer 4 Peace,” which gently expands like a rising bubble, and on the line they share on Italian pianist Roberto Negro’s “Il giorno della civetta.”

Negro and French guitarist Manu Codjia have been partnered with Parisien for years in a variety of musical contexts. Negro shines on Joe Zawinul’s “Madagascar,” where he lights the match that ignites the track, and on “Memento, Part II,” where his classical and jazz chops join forces. (The entire band closes that short track in a crazed, percussive march—an unexpected and inspired turn.) Codjia contributes the burner “Jungle Jig,” and his solos on “Madagascar” and “Memento, Part I” are standouts.

Bassist Joe Martin and drummer Nasheet Waits—two first-call players on the New York scene—bring a brawny but nimble rhythmic propulsion, with a big city swagger. Listen to the two of them matching Parisien’s every twist and turn on the opening of the burner “Jojo” at warp speed.

Balanced, expressive, and confident, the music on Louise is deeply satisfying jazz played at a very high level.

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© 2022 Mel Minter